What is the beauty of forest-style bonsai? Let us experience it together

Influenced by my father since childhood, I have always been very interested in plants and flowers. As my knowledge has broadened over the years, I have also gained a different understanding of bonsai. Because bonsai is the further display and development of the individual characteristics of plants, I have come to love bonsai as a sculptural art even more. An unremarkable tree stump, through the binding, shaping, pruning and crafting of a bonsai technician, is given a new meaning of life. It may be a mountain forest spread across a pot, incomparably elegant; or a small bridge over flowing water, full of rustic charm; or a gnarled old tree, vigorous and ancient. Every pot is full of poetic charm, truly worthy of being called “silent poetry, three-dimensional painting.” It is not just a tree, but a work of art shaped by human hands.

A bonsai has many aspects worthy of appreciation, including its form and the artistic conception it expresses. Among these, I love forest-style bonsai the most, as it better expresses the original appearance of nature. In particular, some forest-style bonsai do not use older trees, which is also a form of protection for certain trees. Forest-style bonsai mainly reflects the comprehensive image of the beauty of a tree group. The selection of plant forms is not as strict as in other bonsai styles. However, the image of group beauty is expressed through the combination of individuals. Therefore, each tree in a forest-style bonsai must also be able to express its individual beauty within a unified composition. So a single tree should also have special value in posture, color and ornamental appeal. Furthermore, according to the basic principle of unity and variation, there must be similarities and differences among the plants. There should be clear distinctions between primary and secondary, with the main scene prominent. Planting at equal distances must be avoided; there should be both sparse and dense arrangement. With social development, people increasingly pursue natural beauty. As a unique ornamental item, bonsai is also receiving more and more attention and focus.

In recent years, the main application of bonsai in gardens has been the bonsai garden, a specialized garden landscape that integrates multiple functions such as the storage, cultivation, teaching and display of bonsai art. Building a garden within a garden gives a feeling of adding beauty to beauty and quiet mystery. Bonsai gardens in some places have already formed their own unique characteristics, and places like Zhengzhou have also built many bonsai gardens, slowly expanding in scale and gradually forming their own style. With the continuous progress of society, I believe more uniquely characteristic bonsai gardens will be developed.

Appreciation of forest-style bonsai: This work makes one feel as if immersed in the rustic charm of mountain forests, pastoral scenery and small bridges over flowing water in nature, especially evoking the beauty of forest tranquility ...

Bonsai Whispers - Bound to Bonsai by Love

The formal beauty of a bonsai work is determined by spatial beauty, linear beauty and their combined beauty.
Bonsai sculptural art, in the final analysis, is the art of handling space and lines.
Professor Zou Xianmin believes: strange stone culture is part of traditional mountain stone culture.
Mr. Li Qingzhai believes: a strange stone is a natural stone body with ornamental value.
Mr. Wei Wenfu believes: the current tree-stone, forest and combination-varied dynamic bonsai is modern Chinese bonsai with distinctive Chinese national characteristics. It represents the style and schools of Chinese bonsai. It is the development direction of bonsai in a certain period.
Cultivating stumps: alive in one year, strong in two; changed in three or four; presentable in five or six; reconsidered in seven or eight; only after ten years can it enter the elegant hall. (Xiao Wenhua)
Concept for purchasing stumps: “Rare and strange, relatively quick to take shape, reasonably priced, loved by all.” (Xiao Wenhua)
Selecting bonsai raw material: roots and claws powerful and spreading in all directions; proportion of trunk and branches harmonious; branch pads even and natural; few artificial wounds; tree character unique and individual.
In bonsai creation, space should be treated as a major element of composition in the layout. (Xiao Xiaoyang)
The blending of scene and emotion, the unity of image and meaning, constitutes the essence of Chinese bonsai. (Feng Rulin)
Only by endowing it with “humanistic spirit” is bonsai alive; only by thoroughly comprehending the “artistic conception” of a work does bonsai possess independent personal charm.
Bonsai appreciation should not only study common issues, but also study different styles of the same issue. (Feng Rulin)
Different arts have different artistic languages, forming different aesthetic characteristics.
Artistic creation, because it has stages and continuity, forms the artist's personal style.
Appreciation is the reverse thinking of creation; one must mobilize imagination, experience, personal history and even cultural cultivation to discover deeper things in a work. (Feng Rulin)
The industrial development of bonsai art must ultimately take the path of nursery cultivation of material. (Liu Chuangang)
In terms of formal imagery and a certain aesthetic vision, bonsai tree species each have their strengths, each have their dependencies, and cannot replace one another. (Huang Xiang)
Diligence can make an artist. Only by going deep into life, deep into practice and deep into nature can one refine artistic masterpieces with both form and spirit.
Read widely the books of sages; broadly absorb the strengths of many schools. (Provided by Bonsai Home)
To learn bonsai, one should often go out and walk around; seeing once is better than hearing a hundred times. “Having knowledge does not equal having common sense, and having common sense does not equal having insight.”
Creating scenery to convey meaning is the essence of Chinese bonsai, and titling bonsai is the characteristic of Chinese bonsai. (Lin Fengshu)
Global bonsai has long been active among the people. Because it has not formed an independent discipline, there is no orthodox academic education. It continues through a master-apprentice transmission method, which easily forms fixed patterns. (Yang Xiu, Taiwan, China)
Current bonsai creation uses the principles of fixed-point perspective and scattered-point perspective from painting theory for layout. Only the front has aesthetic appeal, while the aesthetic appeal from other angles is weaker. Because bonsai is a three-dimensional space, it must be constructed using sculpture theory. (Yang Xiu, Taiwan, China)
Currently bonsai has only one face; this is a mistaken concept. All should be laid out in all-directional three-dimensional space, so that viewers have different aesthetic experiences from different directions. (Yang Xiu, Taiwan, China)
The beauty of bonsai is not composed of leaf pads and leaf blades, but lies in the changes of branches, trunk and texture, as well as the artistic conception expressed through the spaces interwoven by these. (Yang Xiu, Taiwan, China)
Formulaic styling forms cause many bonsai to be largely similar, differing greatly from tree forms in nature. (Yang Xiu, Taiwan, China)
Repotting and changing soil for bonsai is not easily determined by time, but should be decided according to the specific condition of the tree stump. (Huang Jianming)
Bonsai collecting is judging the past with a historical eye, examining the present with an artistic eye, and opening up the future with a developmental eye. (Fu Quan)
In fact, there is no creation without appreciation, and even less appreciation without creative practice. (Huang Qiang)

A bonsai should be the embodiment of a journey of the heart. No two states of mind in a person are exactly the same, so no two bonsai will be exactly the same, and therefore each one appears especially precious. (Xu Feng)
Making bonsai is like being a person; one must pour in all one's heart and blood, as any negligence can brew pain that can never be redeemed. (Xu Feng)
The popularity of cypress bonsai precisely shows that our country is climbing a new peak in the development of bonsai art, so its popularity will be forever, forever... (Hu Leguo)
Not understanding the relationship between Chinese bonsai and traditional Chinese culture is probably the difference between a “craftsman” and a “master.” (Feng Rulin)
The final artistic effect and highest artistic realm of bonsai must all be based on natural beauty. (Zhao Qingquan)
Compared with mountain-collected material, self-cultivated bonsai material provides a broader space for bonsai artistic creation in terms of shaping time, stump-type control, scope of application, artistic conception expression, work adjustment and market development. (Zheng Xuming)
The unique style of Lingnan bonsai is “modeling close to the tree.” The unique production method of Lingnan bonsai is “trunk chopping and branch storing.” (Zheng Yongtai)
Bonsai is a visual plastic art based on cultural cultivation, guided by aesthetic theory and using modeling techniques as its means. (Zeng Xianye)
The development of bonsai culture must rely not only on artistic creation, but also on attention to market development. (Mr. Wang)
The beauty of bonsai individuality cannot be separated from exploring the cultural connotations of tree species. (Hui Youlin)
Chinese bonsai indeed still has no complete, independent theoretical system, but those in this line can only mainly be pragmatic. (Qiantang Sou)
From simple to complex is a quantitative change; from complex to simple is a qualitative leap. (Li Yu)
Chinese painting has the closest relationship with Chinese bonsai, so painting theory must be read and famous works must be seen. One should cultivate a love for various art categories to thereby improve literary and artistic cultivation and ideological taste. (Hu Leguo)
The judging of bonsai works, in the final analysis, is a contest of culture. (Hu Leguo)
Good use of artistic dialectics reflects the level of a work and the cultural and artistic cultivation of the author. (Hu Leguo)
Chinese bonsai is “originating from nature and higher than nature.” Let works achieve harmonious and perfect expression in both form and content. (Hu Leguo)
Chinese bonsai must pursue its own distinctive national style. (Hu Leguo)
Today's bonsai art should embody the combination of Chinese tradition and modern concepts. (Hu Leguo)
Bonsai is culture; like poetry, calligraphy and painting... it has become part of Chinese culture. (Hu Leguo)
In September 2005, the China Bonsai Artists Association awarded the latest 10 “Chinese Bonsai Art Masters”: Liu Chuangang, Xie Keying, Zhang Zunzhong, Liu Zhongming, Jiao Guoying, Zheng Jianming, Wang Rusheng, Li Zhonghong, Xu Hao and Lu Zhiquan.
The role of shari and jin: making bonsai's “transitions more natural, lines more gracefully curved, and colors richer.” (Zhang Zhongyi, Henan)
A bonsai with “Chinese style” is: an expressive bonsai created with profound traditional Chinese national culture as its characteristic. (Shi Wanqin)
Without tradition there is no innovation; without innovation there is no development. (Wei Youmin, Jiangxi)
Branch division and branch storage modeling method: “One branch shows twists and turns, two branches divide into short and long, three branches speak of gathering and scattering, there is both exposure and concealment.” (He Gansun)
Single-tree momentum layout method: “The tree divides into four directions, some short and some long; momentum faces toward and away, both relaxed and stretched.” (He Gansun)
The development direction of dynamic bonsai: on the basis of deepening single-body modeling, take the path of tree-stone, forest and varied combinations. (He Gansun)
Bonsai art, like other arts, is a synthesis of multi-layered cultural cultivation. (Li Erzhong)
“Shari” and “jin” are products of Japanese social forms. In the final analysis, they are only a method of embellishing tree trunks, definitely not the whole of bonsai art; use them where they are useful. (Gong Shuding, Jiangsu)
In natural-style bonsai, the “dual expression of large tree and high mountain” is a mistake. (Chen Hongkui, Shandong)
Bonsai titling is not labeling. (Shi Wanqin, Beijing)
It is time for bonsai judging to establish laws and follow regulations. (Yu Dongsheng, Wuhan)
Bonsai is a three-dimensional landscape painting that creates scenery from emotion, brings poetry out of the scenery, and brings painting out of the poetry, with scenery, emotion, poetry and painting integrated and unified. This is where the artistic charm of Chinese bonsai works lies. (Xia Zhuhua)
Bonsai is not simply planting a tree in a pot, but planting the tree stump, conception and technique in time. (Ke Jin)
The appreciation process of bonsai art is actually the process of bonsai re-creation. (Xu Changqi)
Making rigid regulations for bonsai exhibits; this practice of restricting competition is not advisable. (Chen Shuguang)
The development of art depends on the prosperity of the art market, and the development of bonsai is no exception. (Chen Shuguang)
Bonsai is a type of art form and has its own “circle” in which it exists; there is really no meaning in popularizing it. (Chen Shuguang)
The dispute between “bonsai and potted plants” is essentially a “dispute over face.” (Chen Shuguang)
“Better short than long” is a creative concept that tree bonsai must follow from beginning to end. (Huang Biaoyuan)
Thinning pruning, short pruning and contraction pruning are the most basic and most important pruning techniques for tree stump bonsai. (Zhai Hongmin)
Bonsai art should take the path of diversification. (Hui Youlin)
Two types of Chinese root art: natural-type root art and carved-type root art. (Xu Huadang)
Technique serves art; technique is not the artist's goal, but without technique one cannot achieve the goal. (Wang Xuanmin)
Bonsai years of merit: “An inch of branch grows for several years; only when the fine scene is complete has ten autumns passed.”
Mr. Zheng Xuming believes: bonsai is a living work of art, a work of art in continuous creation, and a work of art that can be reworked.

"Looking up at the mountain top from below the mountain is called high distance; peering at the back of the mountain from the front of the mountain is called deep distance; gazing at distant mountains from nearby mountains is called level distance." (Guo Xi, "Lofty Messages of Forests and Streams")
The purpose of pine carving: to improve the natural beauty of remnant branches, broken trunks and cut surfaces; to increase the utilization rate of raw material and turn ugliness into beauty; to improve the perspective effect of transitions. (Wang Xuanmin)
The emergence of “dashing-strike style” bonsai should be a pioneering creation in China's bonsai circles, and perhaps it will become a new form of Chinese bonsai art. (Gong Shuding, Jiangsu)
Protecting the copyright of bonsai creators is urgent. (Xu Degong, Guizhou)
Gao Siming of Shandong and others believe: the commonality and compatibility of art provide infinite space for our creation.
"A tree is a living thing; adding stone gives it longevity; stone is an inert body; with a tree it becomes spiritual."
Mr. Huang Yagong of Fujian believes: the making of branches is the most numerous artistic work in creation, the embodiment of human effort, an acquired skill, and the key to raising artistic value and commercial value; it cannot be treated lightly.
Mr. Ke Zongrong combines root art with bonsai plants to create root-art bonsai, with very good results.
Experience of Lin Ruiwen of Fujian: using root material to propagate stone-attached stump material is one of the shortcuts to creating stone-attached bonsai.
Mr. Liao Junsheng believes: as long as it has the appearance and temperament of “thinness” and “refinement,” it is a literati-style bonsai.
Mr. Shi Wanqin proposes: giving modern interpretation and application to bonsai art is the key to realizing the transformation from a major bonsai country to a strong one.
Experience of Mr. Tang Huayang of Lipu: binding and cultivating small seedlings to rapidly cultivate large banyan bonsai.
Professor Dong Zugan believes: the essential difference between potted plants and bonsai lies in whether there is artistic modeling.
Mr. Fan Yicheng of Shandong proposes: Chinese arborvitae bonsai has rich themes, spiritual charm, connotations, cultural atmosphere and creative space.
Mr. Zhang Huanxian of Guangdong believes: it is easy for a work's style to seek similarity with others, but difficult to differ from others. “Difference” is outstanding work individuality.
Seeing more natural landscapes and ancient trees is beneficial to the creation of bonsai works.
Professor Dong Zugan's definition of “bonsai”: so-called bonsai is an artwork developed on the basis of ancient Chinese potted plants and stone appreciation, using trees and stones as basic materials, and through artistic modeling, expressing natural landscapes, humanistic landscapes and human activities within a pot.
On bonsai appreciation: view momentum from afar, examine skill up close; endow scenery with thought, give imagination wings.
Key tips for selecting stumps in the Wuzhou bonsai circles of Guangxi: "Big head, rat tail, with curvature; old tree, tender branches, and short and compact." (Provided by yuweiqiang)
Bonsai art master Professor He Gansun summarizes the characteristics of Hubei bonsai: “Lively rhythm, soaring momentum, expressive effect, natural spiritual charm.”
Bonsai art follows the same principles as calligraphy and painting. Calligraphy emphasizes structure and momentum; painting emphasizes composition and spiritual charm. Bonsai is the same. Only by guiding according to circumstances, exercising unique ingenuity, and integrating the principles of calligraphy and painting can one create artworks of superb workmanship. (Provided by Zheng Tongguo, Shandong)
Mr. Hu Leguo believes: pine creation should emphasize the expression of character and backbone.
Main issues in popularizing bonsai: publicity of bonsai knowledge, improvement of policy management mechanisms, large-scale production to reduce costs, development of accessories, circulation obstacles (transport, mailing, etc.), small and medium sizing, popularization of artistic taste, specialized supporting services, etc.
Mr. Wei Jinsheng believes: amateur bonsai enthusiasts and bonsai-obsessed entrepreneurs (groups) will become the intermediate force of Chinese bonsai and lead the future of Chinese bonsai art.
Mr. Xu Zhimiao believes: the artistic conception expression of single-tree bonsai is limited after all, while mountain-stone bonsai provides a broader space.
Space and lines in bonsai are three-dimensional, alive and constantly changing, making works more vivid, richer and more expressive.
Using straight lines to construct the skeleton of a pine scene is more conducive to expressing the masculine beauty of a work's firmness and uprightness. (Qian Zebin)
The discussion about carving, literati trees and how to treat tradition is a great happy event for innovation in Chinese bonsai art, and also an inevitability in the evolutionary process of Chinese bonsai culture.
The improvement of culture and art must be supported by economic levers, and the development of bonsai must also be combined with the market to be a path of takeoff. (Su Benyi)
Three indispensable kinds of people in bonsai: outstanding award winners; entrepreneurs who promote exchange; and visitors who enjoy the mood. (Su Benyi)
Bonsai is not only a splendid market flower ready to be picked, but also a colorful cultural feast. (Su Benyi)
A stone that cannot speak is the most delightful.
Liang Zhiwei proposes: “In stone appreciation, what should be appreciated is the posture of the stone.” “Posture” is static, while “momentum” is flowing.
On stone appreciation: modern “shape, quality, color and texture” challenge the traditional “wrinkled, thin, leaky and transparent.”
“Years of merit” -- is an important criterion for whether a bonsai work is mature.
On technique: “Moves that cannot be seen are exquisite moves; techniques that cannot be comprehended are superb techniques.”
On inheritance and development: “Those who learn from me live; those who resemble me die (words of Qi Baishi).”
Without human artistic creation, tree stump material will forever be soulless raw material.
On selecting stumps: “There are no bad colors, only bad combinations” (a saying from painting).
Principles to draw on in bonsai creation: "make the old serve the present," "make foreign things serve China," "make others' things serve us," to create bonsai with Chinese characteristics.
Bonsai creation: a thousand peaks each with a different form, ten thousand trees each with its own posture. One must vary with the scene and highlight individuality.
Treat tradition with a materialist viewpoint, and treat creation with a realist method.
Bonsai aesthetics: one's aesthetic outlook is a reflection of one's worldview.
The bonsai artist learns from nature: "outwardly learn from creation, inwardly gain from the heart." "The bamboo in the eye, the bamboo in the chest, the bamboo in the hand."
Among tree bonsai, deciduous-tree bonsai is considered the most difficult to shape because of the many species, complex individual characteristics, and unpredictable branch variation.
Bonsai people can be divided into: horticultural bonsai people, scholarly bonsai people, collector bonsai people, and intermediary bonsai people.
Shari (deadwood trunks) and jin (deadwood branches) are presented very appropriately in the shaping of pine and cypress bonsai, and can also be applied to deciduous-tree bonsai.
The prerequisite for the beauty of artistic conception is beauty of form. Only a beautiful form can produce a beautiful artistic conception.
The poetic sentiment and pictorial composition that Chinese bonsai emphasizes is like poetry, where "the words end but the meaning is endless," like painting, where "there is painting beyond the painting," while bonsai must have "scene beyond the scene."
The making of shari (deadwood trunks) is regarded as the most difficult skill in making tree bonsai.
Nature ---- is our best teacher.
Chinese bonsai emphasizes "not revealing the hand of the maker" and "as if formed by heaven," which is the pursuit of natural beauty.
"Poetic sentiment and pictorial composition" is an important aesthetic characteristic of Chinese bonsai, embodying the union of realism and romanticism.
Chinese bonsai has methods but no fixed formulas. Stones have no fixed form, but mountains have fixed methods.
According to different purposes of making, bonsai can be divided into artistic bonsai, commercial bonsai, horticultural bonsai, etc., which are both connected and distinct.
To create a water-and-land bonsai, one must have the basic skills of tree bonsai, the experience of landscape bonsai, and a relatively high cultural and artistic cultivation.
Directional cultivation of works: design a shaping plan, and directionally cultivate the work.
About stands: there are tree-root stands, pillow stands, scroll stands, square stands, round stands, irregular stands, single stands, double stands, curio-cabinet stands, etc. The workmanship must be simple and antique, the lines must be smooth, the proportions must be harmonious, and the scenery must echo one another.
About bonsai composition: one pot, two scenes, three stands, the three merged into one, both mutually harmonizing and mutually complementing. Bonsai appreciation must go beyond visual sensation into emotional association, transferring feeling onto the scene, rising above the realm of the visual. This depends on the viewer's quality.
Chinese bonsai art has a broad Chinese national character; "drawing on" others can only serve us and cannot weaken or replace the "theme." Otherwise "Chinese bonsai" would no longer exist in the world.
Bonsai works of naturalism and formalism are pale and powerless.
Chinese bonsai must pursue not only the expression of emotion, but also multiple forms of expression in which the scene changes with each step and changes with each glance.
Artistic conception is the highest measure by which bonsai art is tested.
The natural beauty of bonsai is a man-made, artistic natural beauty, not a natural prototype. That is why it incorporates more social connotation.
Rule-based bonsai was proposed on the basis of natural-style bonsai; the more rules, the more complete the work, but the more it can form formulas and shackles.
Bonsai art is the crystallization of the long-term wisdom of the Chinese nation and a major contribution to world culture.
Artistic conception actually refers to the infinite space that can be comprehended by the mind.
Placement of figurines: a zhang for mountains, a chi for trees, a cun for horses, and a fen for people.
About the maintenance time of bonsai: fast is slow, slow is fast ......
Root-carving art is art created by nature. Seven parts natural, three parts artificial.
Bonsai art is a comprehensive art that fuses painting, music, shaping, literature and other artistic categories into one.
First learn to be a person, and experience the hardships of life; then learn bonsai, and release the passion deep in the heart.
Tending bonsai is not only a comprehensive exercise for the body, brain and mind, but also has the effects of dispelling irritability and driving away fatigue, refreshing the spirit and regulating the qi, calming the mind and nourishing the complexion, and cultivating the character.
Bonsai is the best traditional Chinese medicine prescription.
Cherish bonsai, and prolong life.
To savor bonsai art is to savor ---- nature, society and life ......
Bonsai is --- poetry without words, a three-dimensional painting, music that cleanses the soul ......
The skill of bonsai lies beyond the pot.
Playing with bonsai is planting suitable plants in pots and enduring the years. So playing with bonsai is playing with interest, playing with willpower, playing with cultivation.

Introduction to high-quality tree species suitable for making bonsai

Introduction to high-quality tree species suitable for making bonsai

Cultural life is an indispensable part of human existence. If there were no cultural life, how dull and tasteless humans would find the world. Everyone has their own preferences: some love poetry, prose and painting; some love singing and dancing; some love playing ball and swimming, and so on. They all give people joy and enjoyment.

Bonsai art can not only beautify the environment, but also give people the enjoyment of beauty.

Bonsai is a kind of ornament with a long history in our country; it is woody plants, herbaceous plants, or water, stones, etc., that through artistic processing are planted or arranged in a pot, making them a miniature of nature. According to different materials used, bonsai can be divided intotree-stump bonsaiandlandscape bonsaitwo major categories. Bonsai has relatively high ornamental and artistic value, and is deeply loved by people.

Appreciating landscape bonsai is like being in the embrace of nature, the beautiful rivers and mountains of the motherland. Fluttering reveries, how enchanting, roaming the eyes and expanding the heart, giving people the endless enjoyment of poetic sentiment and pictorial composition; it is a cultural and artistic activity that is both suited to refined and popular tastes and healthy and civilized.

One, Cypress species:

Cypress bonsai can be called the king of bonsai. Cypress and pine are equally famous, with the sayingspine and cypress stay green、green pines and verdant cypresses.

The aesthetic characteristics of cypress are almost the same as those of pine, but there are also differences: besides being ancient, verdant, strong, and peculiar, there is also its toughness; the bark of cypress has strip-like textures twisting like a rope, and its branches are not easily broken.
Because the vitality of cypress is stronger than that of pine, as when a cypress in the forest is struck by lightning and its trunk is broken at the waist, as long as there is about one cun of bark, it will not die, and most will be broken branches and residual trunks. Therefore, bonsai workers like to use cypress to make "shari (deadwood trunk)" bonsai, to expressan old tree meeting spring.

The famous Japanese bonsai "shari (deadwood trunk)" technique is also mostly used for cypress bonsai.

Two, Pine species:
Pine is the lord of all trees and is the longest-lived plant known. The pine's upright, vigorous form and its spirit of standing proudly through wind, frost, rain and snow make it very easy for people to feel its wildness and arrogance.
Therefore, Chen Yi wrote a poem in 1960 praising it: "Heavy snow presses the green pine, the green pine stands straight and upright. If you want to know the pine's noble purity, wait until the snow melts." The meaning is that the more the heavy snow presses the green pine, the more upright the green pine stands; if you want to know the noble character of the green pine, then wait until the snow melts. Marshal Chen Yi used the green pine to express his determination not to fear hardship and danger and to carry the revolution through to the end! This noble quality can be expressed in an extraordinary way in pine bonsai works!

The most important characteristics of pine bonsai also include being evergreen through the four seasons, tolerant of cold and high temperatures, and tolerant of drought; it can be said to be the most drought-tolerant tree species, so when bonsai enthusiasts are on a business trip or busy with work, they need not worry that their beloved pine bonsai will easily die of thirst.
Among pines native to China, the best is the mountain pine, namely the Masson pine. The mountain pine's tree form is the most graceful among pines, and therefore it is very precious. If the needles are controlled properly, mountain pine bonsai is not only not inferior to five-needle pine bonsai, but can even compare with the bonsai of the queen of pines, the Osaka pine.
At present, according to relevant materials, in today's bonsai world, the most popular bonsai tree species in the world is the pine! I think:
Compared with pine, cypress has the feminine characteristics of soft beauty and toughness, fully displaying the tenacious beauty of unyielding perseverance;
Compared with cypress, pine has the majestic spirit of hardness, wildness, roughness, boldness and fierceness, manifesting the strong beauty of uprightness and unyieldingness.
Pine and cypress bonsai: one hard and one soft, bringing out the best in each other; one yin and one yang, complementing each other; hardness and softness tempered together, yin and yang in harmony.

Three, Boxwood:

Boxwood bonsai has the advantages of a graceful and dignified tree posture, fine and dense leaves, vigorous and antique branches and trunks, an air of age in all directions, the large seen in the small, natural formation, and relatively slow growth with a stable tree form and evergreen through the four seasons; since ancient times it has been recognized as one of the finest bonsai tree species.
If one wishes to obtain a good boxwood bonsai, it is truly not easy at all!

Four, Buddhist Pine (Podocarpus):

Buddhist pine bonsai has a lush, elegant tree posture, antique and vigorous; its leaf color is fresh green through the four seasons, giving a sense of vigor and noble purity.
If attached to mountain stones and made into an eagle-claw-embracing-stone posture, it is even more antique and distinctive. Buddhist pine grouped with bamboo and stone makes an extremely elegant scene.
A forest-style Buddhist pine bonsai, accompanied by grazing scenes, can give people the enjoyment of wild charm.
If cultivated properly, after decades or even a hundred years of enduring prosperity without decline, it becomes an excellent Buddhist pine bonsai. Buddhist pine occupies an extraordinary place in our country's potted-plant art.

Five, Chinese Sweet Plum (Sageretia):

Chinese sweet plum, with naturally peculiar roots and trunks, raised roots revealing claws, a vigorous and antique tree posture, graceful shaping, and an antique flavor, is one of the main tree species of Chinese tree-stump bonsai, one of the five famous trees of Lingnan bonsai, and also one of the bonsai plants exported to the United States after our country's accession to the WTO.
Chinese sweet plum is the finest of tree-stump bonsai, with an upright and unyielding temperament, strong sprouting ability, good adaptability, vigorous vitality, and ever-changing forms through the four seasons, suitable for making bonsai of various styles, with very high ornamental value. It is one of the main bonsai tree species extremely popular in Guangdong, Fujian, Jiangsu and Zhejiang.

Six, Golden Bullet (Diospyros cathayensis):

Golden Bullet, with stiff and upright stems, naturally twisted; its color like iron, its form peculiar; clear, strange, antique and elegant, and roughly managed; it is also an excellent bonsai material for viewing leaves, fruit and form. It is one of China's traditional bonsai schools,the Sichuan schoolmain tree species of bonsai.

Seven, Orange Jessamine (Murraya paniculata):

Orange jessamine has the characteristics of an elegant tree posture, vigorous branches and trunks, being short and sturdy and vigorous, fine leaves and strong branches, and gnarled roots.
It is evergreen through the four seasons, with pure white and fragrant flowers, and dazzling red fruits; it is an excellent bonsai material.
Common tree forms include the straight-trunk style, double-trunk style and slanting-trunk style, with a quite vigorous and antique flavor. It is one of the main tree species ofthe Lingnan schoolbonsai.

Eight, Old Plum:

One of our country's ten famous flowers, its character of icy flesh and jade bone, walking alone in early spring, and leaving fragrance in the cold, is deeply cherished by people.
Old plum stump bonsai, with its vigorous and antique momentum; in the cold winter and twelfth month, golden flowers bloom in full, and a faint pure fragrance overflows everywhere, filling the room, so that anyone who smells it will certainly feel refreshed. Its spirit of fearing no severe cold and struggling against it is even more inspiring. The reason old plum stump bonsai is special is that it is cultivated from a tree stump, and its gnarled branches appear vigorous and powerful, with a particularly distinctive form.
In appreciating plum, the old is valued, not the tender.

Nine, Maple species (Acer):

The maple tree has a graceful posture; in spring and summer the new leaves put forth red, and the leaf color is bright and beautiful; the old leaves show a return to green. Since ancient times many men of letters have cherished it greatly, inscribing poems and chanting of it, often using maple to express emotion. Acer belongs to the Aceraceae family; its red pigment is relatively dense, and its leaves fall relatively slowly, so it can show a scene of the whole tree turning red, lasting as long as two or three weeks, very spectacular.

Old stumps of maple species (Acer) are favored by the vast number of bonsai enthusiasts and collectors for their unique style and image.